View  from  March  15 


No.  45 


Sale  March  20 


#5 

Ri7 

Me*/. 


S--\ 


ILLUSTRATED  CATALOGUE 

JAPANESE  COLOR  PRINTS 

Japanese  Books,  Chinese  and 
Japanese  Paintings,  Ancient 
Brocades  and  Netsukes 

Being  Selections  from  the  Collection  of 

HOGITARO  INADA 

of  Kyoto 


To  be  sold  at  Auction 
Tuesday  Evening,  March  20, 1917 


/ 


CONDITIONS  OF  SALE 


1.  All  bids  to  be  per  lot.  They  are  executed  free  of  charge  by  the 
Walpole  Galleries  and  the  items  are  bought  at  the  lowest  price  permitted 
by  competitive  bids. 

2.  The  highest  bidder  to  be  the  buyer;  in  case  of  disputed  bids  the 
lot  shall  be  resold,  but  the  Auctioneer  will  use  his  judgment  as  to  the 
good  faith  of  all  claims  and  his  decision  shall  be  final.  He  may  also 

reject  any  fractional  or  nominal  bid  calculated  to  delay  or  injuriously 
affect  the  sale. 

3.  Buyers  to  give  their  names  and  addresses  and  to  make  such  cash 
payments  on  account  as  may  be  required  in  default  of  which  the  lots 
purchased  to  be  immediately  resold. 

4.  Goods  bought  to  be  removed  at  the  close  of  the  sale.  If  not  so 
removed,  they  will  be  held  at  the  risk  of  the  purchaser  and  these  Galler¬ 
ies  will  not  be  responsible  if  such  goods  are  lost,  stolen,  damaged  or  de¬ 
stroyed.  No  deliveries  will  be  made  during  the  sale. 

5.  Terms  Cash.  If  accounts  are  not  paid  at  the  conclusion  of  the 
sale,  or.  In  the  case  of  absent  buyers,  when  bills  are  rendered,  these 
Galleries  reserve  the  right  to  dispose  of  the  goods  without  notice  to  the 
defaulting  bnjer  and  all  costs  of  such  re-sale  will  be  charged  to  the 
defaulter.  This  condition  is  without  prejudice  to  the  rights  of  the 
Company  to  enforce  the  sale  contract  and  collect  the  amount  due  with¬ 
out  such  re-sale  at  its  own  option. 

6.  This  catalogue  has  been  compiled  by  competent  cataloguers;  the 
various  lots  offered  are  described  with  care  and  accuracy  and  they  will 

he  sold  not  subject  to  return. 

7.  The  Walpole  Galleries,  if  requested,  will  forward  purchases  at  the 
buyer’s  risk  and  expense. 

Material  on  exhibition  three  days  before  the  sale. 

Priced  copies  of  this  catalogue  at  50c  each. 

THE  WALPOLE  GALLERIES, 

Edward  Turn  boll 
Lenore  Toons  TornboU 

No.  10  East  49th  Street,  New  York. 

This  sale  will  be  conducted  for  the  Walpole  Galleries  by 

MR.  DANIEL  R.  KENNEDY. 

Telephone,  Murray  Hill  6512.  Catalogues  on  request 


THE  GETTY  RESEARCH 

INSTITUTE  LIBRARY 


Plate  1. 

No.  229.  Toyonobu 


View  from  March  15 


No.  45 


Sale  March  20 


JAPANESE  COLOR  PRINTS 

Chinese  and  Japanese  Books,  Japanese 
Paintings,  Ancient  Brocades,  Netsukes 
and  Kakemono 


Selections  from  the  Collection  of 


HOGITARO  INADA 


of  Kyoto 


Large  Primitive  in  Three  Colors  by  Toyonobu  ;  A  Girl  stop¬ 
ping  a  Fan  Peddler  by  Harunobu ;  Ayame  with  her  Shinzo  and 
Kamuro  by  Koriusai ;  A  Court  Dancer  (with  tne  Wakai  seal) 
by  Shunsho  ;  and  other  rare  prints  by  Shunko,  Buncho,  Choki 
(or  Shiko),  Yeishi,  Utamaro;  a  few  primitives  by  Masanobu ; 
Dramatic  Scene  by  Kiyonaga ;  Fourteen  of  the  most  noted 
prints  from  Hiroshige’s  “Kisokaido,”  including  the  two  very 
rare  “snow”  and  “rain”  prints  by  Yeisen ;  Four  of  the  large 
“Bird  and  Flower”  panels  by  Hiroshige ;  “Kinkakoji,”  a  rare 
print  from  the  “10  Views  of  Kyoto”  by  Hiroshige;  two  of 
Hokusai’s  “36  Views” ;  “The  Dreaming  Princess,”  a  superb 
triptych  by  Toyokuni ;  Surimono. 

Paintings  by  Harunobu  and  Hiroshige.  Chinese  Paintings  by 
To-In  and  Kiu-Yei ;  Hokusai’s  “100  Views”  in  3  volumes ;  an 
Association  Hokusai  volume  from  the  Ilayashi  Collection,  etc. 


To  be  Sold  at  Auction 

Tuesday  Evening,  March  20,  1917,  at  8:15  o’clock 
On  Free  View  from  March  15 


THE  WALPOLE  GALLERIES 

No.  10  East  49th  Street  New  York 

Telephone,  Murray  Hill  6512 


. 


FOREWORD. 


We  are  very  happy  to  offer  the  prints  described  in  the  following 
catalogue  selected  from  the  collection  of  Mr.  Hogitaro  Inada  of  Kyoto, 
who  is  known  as  a  critic  as  well  as  expert  in  Oriental  Art  both  in  London 
and  Paris. 

Mr.  Inada  has  had  exceptional  opportunities  to  obtain  genuine 
examples  of  the  noted  prints  of  famous  artists.  The  present  catalogue 
will  be  found  to  contain  prints  of  high  grade  throughout,  a  number  of 
them  having  passed  through  the  hands  of  Mr.  J.  S.  Happer,  of  London, 
which  have  his  stamp  and  certificate  on  the  reverse;  others  have  the 
Wakai  and  Hayashi  Seals — all  of  which  will  be  of  interest  to  the  Amateur 
as  well  as  the  Collector  who  often  feels  that  his  judgment  is  not  infallible 
and  likes  to  compare  his  own  experiences  with  those  of  others  interested 
in  the  same  lines. 


LIST  OF  ILLUSTRATIONS. 


No. 

HARUNOBU — Clinban:  “Courtesan  seated  on  a  black  Ox” .  14 

HIROSHIGE — Bridge  at  Nagakubo,  from  the  Kisokaido  Series.  ...  1!) 

HIROSHIGE — Pine  'frees  at  Mochizuki;  from  the  same .  20 


HIROSHIGE — Evening  Snow,  Kambara;  from  the  “Tokaido  Set” 

HIROSHIGE — Kinkakoji;  from  the  “Ten  Views  of  Kyoto” . 

HIROSHIGE — The  Siesta;  from  the  large  “Bird  and  Flower 


49 

50 


Series”  .  65 

HOKUSAI —  Mishima  Pass  from  the  “36  Views” .  76 

HOKUSAI — -  Mt.  Fuji  from  Asakusa . ; .  77 

KIYONAGA —  Broadsheet  .  112 

SHUNSHO —  Ilosoye:  Actor  as  a  Samurai .  189 

SIIUNZAN —  Ilosoye,  Musicians  and  Dancing  Girl .  191 

TOYOHIRO —  Broadsheet,  “Three  Women  at  Flower  Arrange¬ 
ment”  .  217 

TOYOKUNI —  Triptych,  “Dreaming  Princess”  .  219 

TOYONOBU —  Broadsheet,  “Young  Woman  Dressing”  (Frontis¬ 
piece)  .  229 

YEISEN —  Rain  print,  “Kutsukake  Station” .  28 

YEISEN —  Snow  print,  “Itabana  Station” .  29 

YEIZAN —  Broadsheet,  Snow  Print,  “Two  Geishas  on  the 

Bridge” .  247 


Digitized  by  the  Internet  Archive 
in  2020  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/japanesecolorpri00walp_19 


No.  14.  Harunobu.  Plate  2.  No.  65.  Hiroshige. 

No.  247.  Yeizan. 


ILLUSTRATED  CATALOGUE 


JAPANESE  COLOR  PRINTS,  CHINESE  AND  JAPANESE 
PAINTINGS,  JAPANESE  BOOKS,  ANCIENT 
BROCADES,  AND  NETSUKES 


Selections  from  the  Collection  of  Hogitaro  Inada,  of  Kyoto 


1.  KUNISADA.  Young  Girl  Calling  a  Maid.  She  is  ready  for  her 

dressing;  spring  rain  can  be  seen  through  the  Verandah. 

2.  SENCHO.  Geisha  Girl  in  Blue.  The  Spring  rain  has  turned  to 

snow,  covering  the  pink  buds  of  the  old  plum  tree  under  which 
she  stands. 

3.  CHIUSHINGURA  SERIES.  No.  5.  By  Hiroshige.  Highwayman 

Sadakuro  robbing  Yoichibei.  Night  effect  of  black  and  blue. 

4.  CHIUSHINGURA  SERIES.  No.  8.  Early  morning,  the  wife  of 

the  leader  of  the  Ronins  with  his  daughter-in-law  travelling  East. 
Original  border,  effect  of  blue. 

5.  HOKUSAI  AND  HIROSHIGE.  Chinese  Landscape,  in  white 

with  blue  reserve  by  Hokusai ;  Chinese  Lady  and  Attendant,  on 
a  blue  background,  by  Hiroshige.  Two  very  interesting  narrow 
prints.  (2) 

6.  YOSHITSUYA.  Umemaru  Subduing  a  Dragon  with  the  Sacred 

Scroll.  The  solid  black  background  representing  night. 

7.  KUNINAO.  Geisha  Girl  Entering  Funiyado,  or  house  of  rendez¬ 

vous,  on  a  snowy  day,  her  many  grey  robes  edged  with  black 
and  pink. 

8.  SADATORA.  Girl  Running  in  the  Rain,  past  a  Monument  to 

Fudo.  The  storm  is  heavy  and  the  lightning  flashing. 

9.  PRIMITIVE.  Buddha  and  the  Twelve  Deities.  Small  Kakemono 

form. 

Unsigned  and  hand-colored  of  the  early  18th  century. 


OTSUYE. 

The  form  of  print  which  opened  the  way  for  the  wood-block. 

10.  DEVIL  PRIEST.  An  ancient  painting  on  paper,  kakemono  shape, 

in  the  primitive  coloring  of  black,  beni  and  tan. 

BUNCHO,  1764-1796. 

A  Samurai  who  dissipated  his  genius;  Ficke  states  that  many  good  collections 
do  not  possess  a  single  fine  specimen  of  his  work. 

11.  DANJURO  AS  A  YOUTH  WITH  A  TOY  HORSE  UNDER 

PLUM  BLOSSOMS. 

Iloshoye  form  in  fine  condition  and  of  an  unusually  fine  early  “tan" 
“beni”  and  green  coloring.  Signed  Ippitusai  Bunelio. 

With  tiie  IIapper  Certificate  and  Seal,  as  Genuine. 

CHOKI,  OR  SHIKO. 

Who  worked  from  about  1785  to  1805.  “The  most  graceful  of  all  the  figure 

designers  of  his  time” — Strange. 

12.  THREE  WOMEN  ON  A  BOAT  UNDER  RYOGOKU  BRIDGE. 

Early  summer  with  Cuckoos  dying.  Signed  and  with  the  bird  seal 
of  Tsuruya. 

With  the  Happer  Certificate  and  Seal,  as  Genuine.  Early  example 
signed  “Choki,”  the  first  signature. 

13.  THREE  YOUNG  GIRLS  AT  FLOWER  ARRANGEMENT. 

Signed,  published  by  Tsuruya,  with  bird  seal. 

The  barred  Shoji  forms  an  unusual  background  for  a  graceful  group  of 
girls.  With  the  Happer  Certificate  as  genuine. 

HARUNOBU,  1725-1770. 

The  great  inventor  of  polychrome  printing;  famous  for  the  delicacy  and  grace 

of  his  prints  of  women. 

14.  A  COURTESAN  SEATED  ON  A  BLACK  ON.  She  wears  violet 

and  pink.  They  pass  along  a  winding  stream  which  forms  the 
only  background  against  the  creamy  grey  tint  of  the  print. 

Chuban  (square)  form.  Signed  Suzuki  Harunobu.  Certified  Genuine 
by  ,T.  S.  Happer. 

( riate  No.  2.) 

15.  GIRL  STOPPING  A  FAN  PEDDLER.  She  rests  one  hand  on  the 

Sho.ji,  beckoning  him  with  her  fan ;  the  fan  boxes  carried  on  his 
shoulder  introduce  an  exquisite  note  of  black  into  the  soft  coloring 
of  the  print.  Signed. 

Chuban  form.  Signed  Gauffrage.  Certified  genuine  by  J.  S.  Harper. 

16.  -A  COURT  NOBLE  WITH  A  LADY  NEAR  THE  GENJI  WIN¬ 

DOW.  The  foreground  of  dull  green,  their  robes  of  subdued  tones, 
with  a  curtain  to  the  rear. 

Chuban  (square)  form.  Signed. 

C 


1 1 A II U  NOB  U— ( ’on  t  i  n  ued . 

17.  KAKEMONO  PAINTING  BY  HARUNOBU.  A  young  woman 

standing  on  a  balcony  leading  to  the  Garden.  Her  figure,  of 
charming  grace,  framed  in  the  open  Shoji.  Signed  on  the  large 
bronze  water  jar  which  is  placed  to  the  left. 

Original  Paintings  by  IIarunobu  are  very  rare.  Particularly  inter¬ 
esting  for  the  coloring.  The  robe  of  the  young  woman  is  faintly  tinted, 
and  bordered  with  cherry-color;  over  this  she  wears  grey  with  delicate 
floral  design  in  white.  Painted  on  paper. 

HIROSHIGE,  1797-1858. 

One  of  the  greatest  names  in  the  world  of  art. 

18.  TAKAMIYA.  From  the  Ivisokaido  Series. 

This  and  the  following  are  the  very  rare  Hiroshige  series  of  the  “69 
Stations  of  the  Ivisokaido,”  or  mountainous  route  between  Yedo  and  Kyoto. 
They  were  the  work  of  Hiroshige  and  Yeisen,  and  are  characterized  as 
“masterpieces.”  All  are  full-size  horizontal  plates  with  margins. 


19. 


20. 


21. 

22. 

23. 


24. 


25. 


2G. 


BRIDGE  AT  NAGAKUBO.  MOONLIGHT.  From  the  Kisokaido 
series. 

Fine  impression  with  margins.  The  shadowy  bridge  with  tired  travellers 
seen  against  the  hills  of  remarkable  pi-inting. 

(See  Plate  No.  3.) 

PINE  TREE  AVENUE  AT  MOCHIZUKI.  From  the  Kisokaido 
Series. 

Very  rare.  Fine  impression  with  full  margins.  A  noted  moonlight 
print  from  this  series. 

(See  Plate  No.  3.) 

TAKASAKI  STATION  WITH  WAYSIDE  TEAHOUSE.  A  vil¬ 
lage  clustered  among  hills  of  characteristic  “Hiroshige  blue.” 

Fine  impression,  with  margins. 

HACHIMAN  STATION.  A  small  wooden  bridge  with  coolies 
crossing. 

A  very  scarce  print  of  the  series,  with  margins. 

TORIIMOTO  STATION.  The  Inn  overlooking  the  Bay. 

OCIIIAI  STATION.  The  Junction  of  two  Rivers,  the  distant 
mountains  finely  rendered. 

Very  rare  and  fine. 

TAKESA  STATION.  The  boat  bridge,  travellers  and  coolies  cross¬ 
ing  ;  rice  fields  and  young  maples  beyond. 

A  particularly  scarce  print  from  the  series. 

SAKAMOTO  STATION.  A  great  round  hill  towering  over  a  vil¬ 
lage  and  rapid  stream. 

One  of  the  prints  of  the  series,  by  Yeisen. 


HIROSHIGE — Continued. 

27.  YABUHARA  STATION.  By  Yeisen.  Travellers  resting  in  the 

Mountain  Pass  of  Toriitoge  near  Y abuhara. 

Fine  sharp  impression  with  margins  entire. 

28.  KUTSUKAKE  STATION.  Bain  Storm  on  the  Plain  of  Hirat- 

suka.  From  the  Kisokaido  series. 

By  Yeisen.  Travellers  nearing  the  town  of  Ivutsukake  with  laden  donkeys 
are  caught  in  a  heavy  shower.  Fine  impression  with  margins.  One  of 
THE  FINEST  BAIN  PRINTS  IN  JAPANESE  ART. 

(See  Plate  No.  3.) 

29.  ITABANA  STATION.  Snow  View.  Travellers  on  the  Highway 

leading  to  Itabana  passing  under  a  pine  tree  avenue  across  a  little 

bridge  in  deep  snow. 

One  of  the  very  rare  prints  from  the  Kisokaido  series.  A  Yeisen  land¬ 
scape  of  remarkable  power,  rivalling  the  work  of  Hiroshige. 

(See  Plate  No.  3.) 

30.  MORIYAMA  STATION.  A  little  village  street  with  a  row  of 

shops ;  hills  in  the  background  and  blossoming  cherry  trees. 

31.  FUKAYA  STATION.  By  Yeisen.  Night  scene  in  front  of  a  tea¬ 

house,  and  group  of  girls;  other  shadowy  people  in  the  distance. 

32.  ASAKUSA  TEMPLE.  From  the  “100  Views.”  “Meisho  Yedo 

Hyakkei.  ’  ’ 

A  Genuine  First  Impression  with  Small  Margins  of  a  Print  very 
Fopular  and  many  Times  Reproduced.  A  famous  “snow”  print,  the 
Temple  seen  from  under  a  great  swinging  globular  shaped  lantern,  the 
coloring  of  which  has  oxydized  with  age,  making  it  even  more  lovely  than 
in  the  original  coloring. 

33.  KOI-NOBORI.  From  the  “100  Views.” 

Fuji  seen  beyond  the  Great  Carp  Kite,  on  the  day  of  the  Boys  Festival. 
Margins. 

34.  “FESTIVAL  OF  THE  COCK,  ASAKUSA  RICE  FIELDS.” 

From  the  “100  Views  of  Yedo.” 

A  white  cat  seated  in  the  barred  window  of  a  teahouse  watching  the  fes¬ 
tival  procession  leads  the  eye  to  distant  and  whiter  Fuji.  A  remarkably 
fine  impression  of  a  famous  print  with  the  happer  certificate  and 

SEAL  AS  GENUINE. 

35.  OLD  PLUM  TREE  IN  THE  GARDEN  OF  KAMETO.  The  trunk 

of  an  old  Plum  Tree  in  blossom  across  the  print,  the  blossoming 

gardens  seen  beyond. 

Fine  sharp  impression  with  margins  showing  the  grain  of  wood,  of  a 
very  rare  print  of  the  series  of  “100  Views.” 

36.  KAMEIDO  TEMPLE  SNOW.  From  the  “Yedo  Meisho.” 

A  SUPERB  AND  FAULTLESS  IMPRESSION  WITH  MARGINS  of  One  of  the  most 
desirable  snow  landscapes  in  Japanese  Art,  very  rarely  found  in  good 
condition. 


HIROSHIGE— Continued. 

37.  WHITE  RAIN  AT  NIHON  BRIDGE.  A  red  bridge  to  the  left 

across  which  people  hurry  in  the  rain ;  beyond  the  village  is  seen 

distant  Fuji  in  the  mist. 

A  famous  “rain”  print  from  the  “Toto  Meisho”  or  views  of  Yedo. 

38.  MOUNTAIN  PASS  NEAR  OKABE.  From  the  Upright  Tokaido 

set. 

A  first  impression  with  the  margins  entire  of  a  beautiful  “grey”  print — 
the  greyish  blue  of  the  hills  finely  rendered.  Very  rare. 

39.  GEISHA  GIRL  ON  THE  BANK  OF  THE  SANYABORI.  From 

the  upright  “Tokaido  Set.” 

A  very  fine  impression  with  all  the  collector’s  “Points,”  the  stars  in  the 
sky  are  reflected  in  the  River,  with  the  grain  of  the  wood  block  clearly 
shown. 

40.  MISHIMA.  From  the  Upright  “Tokaido”  Set. 

A  village  street  with  people  passing ;  in  the  foreground  a  large  tree  and 
Torii.  Fine  sharp  impression,  note  the  grain  of  the  wood  block.  Mar¬ 
gins. 

41.  HARA.  From  the  Upright  Tokaido  Set. 

A  majestic  Fuji,  its  peak  extending  into  the  margin  of  the  print  domi¬ 
nates  a  pleasing  landscape  in  the  summer  coloring  of  green. 

42.  HAKONE.  From  the  upright  “Tokaido  Set.”  A  traveller  being 

carried  up  a  steep  mountain  path  in  a  Kago,  underneath  old 

pines  which  overhang  the  cliff. 

43.  KOGANEI.  Upright  print  from  the  “36  Views  of  Fuji.” 

A  clear  silvery  impression  with  margins,  Mt.  Fuji  seen  through  a  knot¬ 
hole  in  a  great  Cherry  Tree  which  covers  the  left  side  of  the  print. 

44.  RAIN  AT  TSUCHIYAMA.  Daimio’s  procession  crossing  the 

bridge,  almost  hidden  in  the  heavy  rain.  Tokaido  set. 

FIrst  impression  with  margins  of  a  famous  print,  with  the  happer 
certificate  and  seal.  It  was  published  by  Hoyeido,  the  mark  of  the 
early  states,  and  attributed  to  1S34. 

45.  MISHIMA  MORNING  MIST.  Early  travellers  starting.  Tokaido 

set. 

First  impression  with  margins  entire,  published  by  Hoyeido  (1834) 
with  the  Happer  Certificate  and  Seal.  A  notable  print,  much  in  de¬ 
mand  when  in  fine  condition  with  margins  as  above. 

46.  TIGER  RAIN  AT  OISO.  Tokaido  set. 

A  picturesque  village  towards  which  travellers  hurry  along  a  pine  tree 
avenue ;  the  sea  in  the  distance.  A  fine  impression  with  margins,  having 
a  few  small  holes  otherwise  in  fine  condition. 

47.  WINDY  DAY  AT  YOKKAICHI.  Tokaido  set. 

A  celebrated  print  from  this  series,  showing  motion  rarely  developed  in 
Japanese  art.  With  full  margins. 

9 


HIROSHIGE— Continued. 

48.  FUJIYEDA.  Tokaido  set. 

The  examination  of  a  Daimio’s  luggage.  Fine  impression  with  full 
margins  of  one  of  the  scarcer  prints  of  this  series.  On  soft  paper  with  the 
Happer  certificate  and  seal. 

49.  EVENING  SNOW,  KAMBARA.  From  the  “  Tokaido  Set.  ” 

A  splendid  impression  of  a  favorite  PRINT;  a  mountain  village  under 
deep  snow,  the  few  travellers  huddled  in  many  robes  from  the  icy  wind. 

(See  Plate  No.  4.) 

50.  KINKAKOJI.  From  the  “10  Views  of  Kyoto.”  Horizontal  plate. 

A  rare  and  beautiful  print,  clearly  printed,  and  in  Collector’s  condi¬ 
tion,  with  the  margins  intact.  It  shows  the  Temple  and  Garden,  a  great 
round-topped  mountain  looming  in  the  mist  beyond. 

(See  Plate  No.  4.) 

51.  “ROKUJU  YOSHO  MEISHO  ZUYE.”  Tornado  at  Yainabuslii- 

dani.  From  the  “Views  of  the  60  Odd  Provinces.” 

“The  torrential  rain  that  Hiroshige  loved.” 

52.  MONKEY  BRIDGE,  AUTUMN  MAPLES.  The  rapids  curling 

through  the  cliffs  and  deep  blue  hills  beyond  as  fine  as  anything 
Hiroshige  ever  drew.  From  the  ‘  ‘  60  Odd  Provinces.  ’  ’ 

53.  MT.  FUJI  SEEN  FROM  MIHO  NO  MATSUBARA.  The  violet, 

grey  and  rosy  mists  form  an  exquisite  harmony  with  the  deep 
blue  water  of  the  foreground  dotted  with  little  boats. 

Fine  impression,  from  the  “60  Odd  Provinces.” 

54.  MAPLE  SEASON  ON  THE  RIVER  TATSUTA.  A  famous  place 

for  viewing  maples.  From  the  “60  Odd  Provinces.” 

55.  WAKANOURA  WITH  FLIGHT  OF  CRANES.  The  plumage  in 

gauffrage.  A  particularly  desirable  print  from  the  series  of  the 
“60  Odd  Provinces”  in  very  fine  condition  and  sharp  coloring. 

56.  SNOW  VIEW  OF  MT.  HARUNA.  Icy  blue  waters  at  the  bottom 

of  a  great  chasm  connected  by  a  tiny  bridge  ;  beyond  are  snow¬ 
laden  pines  and  a  great  snow-covered  mountain. 

A  very  fine  snow-scene  from  the  “GO  Odd  Provinces.” 

57.  ASAKUSA  TEMPLE,  STARLIGHT.  Great  crowds  coming  out 

from  the  Temple.  From  the  “60  Odd  Provinces.” 

58.  MOON  REFLECTION  AT  SARASHINA.  A  noted  print  showing 

seven  reflections  of  the  full  moon  in  the  curving  stream.  From 
the  “60  Odd  Provinces.” 


10 


HIROSHIGE— Continued. 

59.  MOUNTAIN  GORGE  OF  GOKEI,  Province  of  Bitchu,  remarkable 

coloring  of  grey  cliffs  and  blue  rapids,  from  the  “60  Odd  Prov¬ 
inces.” 

60.  TEMPLE  OF  KWANNON  ON  THE  CLIFF  AT  ABUTO.  Moon¬ 

light.  From  the  “60  Odd  Provinces.” 

61.  GEISHA  GIRL  SEATED,  holding  a  Bachi,  or  Samisen  striker. 

She  wears  blue  and  beyond  is  a  lovely  view  of  the  famous  “Kara- 
saki  Pine  Tree  Rain”  (one  of  the  most  famous  of  Hiroshige’s 
landscapes) . 

62.  YOUNG  WOMAN  WALKING  NEAR  KAMEIDO  TEMPLE.  It 

is  winter  with  icy  blue  water  and  thickly  falling  snow ;  her  large 
umbrella  is  lined  with  rose-color  and  black. 

One  of  the  scarce  figure  plates  by  Hiroshige. 

63.  SET  OF  THE  OMI  ITAKKEI,  or  “Eight  Views  of  Lake  Biwa.” 

Early  impressions  of  one  of  the  most  interesting  of  the  small  series 
done  by  this  artist.  Half  blocks.  (8) 

Each  is  printed  within  a  self-border  of  green ;  the  “rain,”  moonlight  and 
snow  prints  of  this  little  series  are  quite  desirable. 

61.  SWIMMING  AI  FISH.  Four  silvery  fish  swimming  swiftly 
through  water  of  fine  blue. 

Full  oblong  print,  excessively  rare  in  such  fine  condition,  with  the 
SEAL  AND  CERTIFICATE  OF  J.  S.  HAPPER. 

65.  THE  SIESTA.  Long  Tailed  Bird  on  a  Plum  Branch.  Asleep 

against  an  early  rising  moon  in  a  rosy  tinted  twilight  sky.  The 
faint  blue  shadows  of  the  plum  blossoms  and  the  gnarled  branches 
against  the  sky  form  a  charming  background  for  the  brilliant 
plumage  of  the  sleeping  bird.  15  x  7  inches. 

A  VERY  FINE  IMPRESSION  WITH  THE  IlAPPER  CERTIFICATE  AND  SEAL.  One 
of  the  most  beautiful  plates  of  the  Kwa-Cho. 

(See  Plate  No.  2.) 

66.  PHEASANT  AND  CHRYSANTHEMUMS.  A  sapphire-throated 

and  winged  Pheasant  resting  on  a  rock  beyond  which  grow  great 
clustering  pink  Chrysanthemums.  15  x  7  inches. 

A  superb  impression  in  fine  condition  and  guaranteed  genuine  by  J. 
S.  Ilapper,  with  seal  and  certificate.  Not  in  the  Blanchard  or  Metzgar 
Collections. 

67.  SNOW  HERON  AND  IRIS.  A  superb  blue-white  Heron  alighting 

over  misty  blue  water  in  a  cluster  of  violet  Iris  blossoms  and 
buds.  15  x  7  inches. 


11 


H 1110  S  H IGE— Continued. 

68.  MANDARIN  DUCKS  AND  HYDRANGEA.  A  gaily  plumaged 

Mandarin  Duck  and  his  quieter  mate  swimming  down  stream 
under  blue  Hydrangea  blossoms. 

69.  KAKEMONO  PAINTING  BY  HIROSHIGE.  Snow  View  at 

Matsucbiyama.  Mounted  on  brocade. 

Original  drawings  by  Hiroshige  are  very  rare,  particularly  a  snow  land¬ 
scape,  the  subject  of  some  of  his  more  noted  prints. 

HOKKEI,  1780-1856. 

•  A  landscape  artist  of  great  originality. 

70.  VIEW  OF  URAMI  NO  TAKI  WATERFALL.  From  the  Shokoku 

Meisho,  or  Famous  Places  of  Japan.  Near  Nikko. 

An  oblong  print ;  travellers  admiring  the  waterfall  from  a  bridge  behind 
the  immense  volume  of  water.  With  the  J.  S.  Happer  certificate. 

71.  ONI  WRITING  TITLES  OF  “SIN”  ACCOUNTS.  Hosoye  form. 

Perfect  condition  and  coloring,  with  the  Happer  Certificate. 

HOKUJU,  Pupil  of  Hokusai,  1835. 

72.  CHINESE  JUNK,  UNDER  FULL  SAIL.  A  striking  print  in  fine 

condition. 

It  is  unsigned,  but  attributed  to  Ilokuju. 

HOKUSAI,  1760-1849. 

One  of  the  great  landscape  artists  of  the  world. 

73.  TWO  GIRLS  PICKING  TEA  LEAVES.  Chuban  (square)  print 

of  fine  coloring  and  registration  and  in  fine  condition. 

With  Hokusai’s  early  signature  “Shunro.” 

74.  THREE  LADIES  BOATING,  STOPPING  TO  GATHER 

CHERRY  BLOSSOMS.  The  Avaves  and  blossoms  in  gauffrage. 
The  place  is  in  a  Dairnio ’s  garden. 

Oblong  print  in  fine  condition  with  the  IIapper  seal  certifying  it 
is  genuine. 

75.  COURTESAN  IN  MANY  FOLDED  ROBES  ON  PARADE. 

Hosoye  form. 

First  impression  of  a  very  rare  print  with  the  IIapper  certificate. 
Hokusai  here  has  signed  “Taito” ;  the  poem  at  the  top  and  jar  seal  all 
in  Chinese  style. 

76.  MISHIMA  PASS  IN  THE  PROVINCE  OF  KAIII.  From  the  “36 

Vieivs.” 

The  mountain  wreathed  in  curling  smoke,  and  a  great  tree  in  the  fore¬ 
ground.  A  NOTED  AND  RARE  PRINT. 

(See  Plate  No.  4.) 

77.  TOTO  ASAKUSA  IiONGWAN-JI.  Fuji  seen  from  the  Buddhist 

Temple  at  Asakusa. 

An  exceedingly  fine  blue  print  from  the  “36  Views  of  Fuji.” 

(See  Plate  No.  4.) 

12 


HOKUSAI— Continued. 

78.  YOUNG  GIRL  WITH  A  LOVE  LETTER.  A  koban  (or  small 

print)  with  an  interesting  border,  very  little  used  later  by  Ho¬ 
kusai,  in  fine  early  coloring,  her  hairpins  in  silver. 

79.  A  FRIGHTENED  HORSE.  Printed  in  white  reserve  or  “Ishizuri” 

(reversed)  style  on  a  black  ground. 

A  print  of  Chuban  form  of  tlie  greatest  rarity.  Practically  unknown  to 
Hokusai  collectors. 

JAPANESE  ILLUSTRATED  BOOKS. 

Chinese  Paintings,  Chinese  Printing,  Drawings  by  Kyosai,  and  others. 

80.  “HOITSU-SHONIN  SHINSEKI  KAGAMA.”  A  Collection  of 

the  Masterpieces  of  Hoitsu  Shonin.  2  vols.,  tall  8vo,  undated 
but  about  1835. 

Many  Bird  and  Flower  plates  in  monochrome  and  tint,  Moonlight  Views, 
etc. 

81.  IIOKUGA — Pupil  of  Hokusai.  From  the  IIayashi  Collection, 

Tokio  and  Paris.  Two  volumes,  containing  thirty-four  (34)  very 
tine  tracings  after  Hokusai’s  Work,  by  Hokuga,  one  of  Hokusai’s 
best  pupils. 

One  of  the  most  interesting  association  items  imaginable  in  connection 
with  Japan’s  greatest  artist  and  his  favorite  pupil.  Four  of  the  tracings 
bear  the  red  seal  of  Hokuga,  in  whose  possession  these  drawings  remained 
until  his  death.  From  The  IIayasiii  Collection,  Tokio  and  Paris. 

82.  HOKUSAI.  “Fugaku  Hyakkei”  or  “Hundred  Views  of  Fuji”  in 

monochrome  and  wash  by  Hokusai.  3  vols.,  8vo.  Published  by 
Eirakuya  Toshiro,  at  Nagoya  and  Yedo,  dated  Tempo  V.  (1834). 

A  VERY  FINE  COPY  OF  A  MUCH  SOUGHT  FOR  VOLUME.  RARELY  FOUND  COM¬ 
PLETE  as  above.  “Fuji”  seen  through  the  “Monkey  Bridge,”  dark  with 
Thunder  Clouds,  misty  in  a  Snow  Storm,  admired  by  Workmen,  Travellers 
and  Philosophers,  make  this  a  notable  series. 

83.  HOKUSAI.  “Manji-o  Sohitsu  Gwafu.  ”  Hokusai’s  Rough 

Sketches.  8vo,  published  by  Ivinkodo,  Yedo.  Dated  Tempo  14 
(1843). 

First  Edition,  complete  in  one  volume.  An  attendant  of  the  Temple 
sweeping  leaves  in  the  mist  is  one  of  the  most  characteristic  Hokusai  sub¬ 
jects. 

84.  HOKUSAI.  The  Twelfth  Volume  of  the  Hokusai  Mangwa.  First 

Edition.  Dated  Tempo  V.  (1835). 

These  volumes  of  the  “Mangwa,”  especially  when  in  fine  early  printing 
as  the  above  are  much  in  demand  among  the  admirers  of  Hokusai. 

85.  IIOKUSAI.  The  same.  First  edition  of  the  12th  Volume  of  the 

Mangwa. 


13 


JAPANESE  ILLUSTRATED  BOOKS— Continued. 

86.  KYOSAI.  Studies,  Sketches,  and  Original  Drawings  of  engravings 

and  proofs  of  prints  by  Kyosai.  Mounted  in  a  small  folio  volume 
and  numbered  consecutively. 

Mainly  in  black  and  white,  but  occasional  drawings  are  touched  with 
color  and  wash.  Especial  attention  is  directed  to  No.  17 :  “George  Wash¬ 
ington  and  his  Father’’  as  one  of  the  very  few  Japanese  drawings  of  Wash¬ 
ington,  and  perhaps  the  only  one  known  of  this  period. 

Among  the  more  interesting  drawings  are  the  following : 

1.  An  ancient  Courtesan,  seated  with  sake-cup. 

2.  Emma,  or  the  King  of  Hell  and  one  of  Myokwan,  or  a  Jury  of  Hell, 

dancing. 

3.  Poetess  Ono  no  Komaclii  reading  a  poem. 

4.  Study  for  a  Chinaman. 

7.  A  courtesan. 

9.  Original  drawing  for  engraving,  a  maid  dressing  her  mistress’  hair. 

12.  Proof  of  a  print,  woman  sewing. 

13.  Original  drawing  for  engraving.  A  Samurai  addressing  a  Daimyo. 

14.  Emma  and  a  Myokwan. 

15.  Jizo  fishing  with  net  to  amuse  children  at  Sai-no-Kawara. 

1G.  Original  drawing  for  engraving.  Young  lady  visiting  her  friend. 

17.  George  Washington  and  his  Father. 

IS.  A  court  noble  and  a  lady  in  a  boat. 

20.  A  copy  from  a  Kano  school  painting.  Juro  and  Fukurokuju  and 
their  favorites. 

22.  Original  drawing  for  engraving.  A  Samurai  seated  in  his  office. 

23.  Original  drawing  for  engraving.  A  young  woman  assaulted. 

24.  Proof  of  a  small  print.  Street  scene  in  Tokyo. 

28.  Gomo  nursing  his  mother,  one  of  24  acts  of  filial  piety  of  China. 

29.  A  young  woman  arranging  light  in  an  ando. 

30.  Shojo  dancing. 

31.  A  wealthy  Shojo  giving  sake  to  the  poor. 

33.  A  Samurai  attired  in  Kamishimo  costume. 

30.  People  resting  at  a  wayside  teahouse  under  a  tall  tree. 

38.  Original  drawing  for  engraving.  A  young  woman  playing  Samisen. 
40.  Original  drawing  for  engraving.  The  Emperor  Sutoku  reading  a 
scripture  in  Oki  Island  during  his  exile. 

43.  The  white  horse  festival. 

47.  Ivyoun  and  Kawano,  two  artists  arrested  and  examined  at  a  police 

station. 

48.  Proof  of  a  print.  Slioki  playing  Samisen  while  a  courtesan  is 

drinking  sake. 

49.  Group  of  Chinese  ladies  and  attendants. 

50.  Proof  of  a  print.  “No”  dance  known  as  “Shakko.” 

51.  Original  drawing  for  engraving.  Dispute  between  two  parties  of 

Samurai  in  a  Daimyo's  mansion. 

52.  Street  scene  in  Tokyo. 

54.  A  bad  man  trying  to  tempt  a  good  young  man. 

5G.  Daikoku  storing  treasures. 

87.  SEKIYEN  (TORIYAMA).  “Tsurezure  Bulairo”  or  Ghost 

Stories.  3  vols.,  8vo,  dated  Temmei  4  (1784). 

A  series  of  very  interesting  plates  showing  the  development  of  the  many 
“animal”  spirits  among  the  Japanese. 

14 


JAPANESE  ILLUSTRATED  BOOKS— Continued. 

88.  SEKIYEN  (TORIYAMA).  ‘ ‘  Suiko  Gwasenran”  or  Illustrations 

to  the  Suikoden.  Plates  in  black  and  white  of  one  of  the  most 
noted  stories  of  Japan.  3  vols.,  8vo,  pub.  by  Idzumoji  Idzumi  no 
Jo,  Yedo,  dated  Anyei  VI  (1777). 

A  complete  set. 

89.  SEKIYEN  (TORIYAMA).  “Kwaiji  Hiken,”  or  Famous  People 

of  China  and  Japan,  with  short  descriptions.  2  vols.,  8vo,  pub. 
by  Bunjudo,  Yedo,  no  date,  but  about  1776. 

Illustrated  with  double-page  plates  in  tints. 

90.  SHUNSEN.  £  ‘  Y ebon  Kwaidan  Soroi” — or  Various  Ghosts  and 

Spirits.  The  text  by  Tokwa  Sanjin.  3  vols.,  8vo. 

Illustrated  with  colored  plates  by  Shun sen,  whose  books  are  very 
scarce. 

91.  SOKEN  (YAMAGUCHI).  “Yamato  Jimbutsu  Gwafu,”  or  Pic¬ 

tures  of  Old  Japanese  Life.  3  vols.,  tall  8vo,  pub.  by  Noda 
Shichibei,  Yedo,  dated  Kwansei  II.  (1799). 

The  occupations,  amusements,  and  professions  of  the  middle  and  lower 
classes  of  Japan  in  the  Eighteenth  Century  in  a  series  of  very  interesting 
plates. 

92.  TAITO  (KATSUSHIKA— Pupil  of  Hokusai).  “Kwacho  Gwaden” 

or  Pictures  of  Flowers  and  Birds.  Double-page  tinted  plates  of 
much  charm  showing  Japanese  Birds  and  their  habitat.  8vo. 
Published  in  Kayei  I.  (1848)  by  Suwaraya  Mohei,  Yedo  and 
Osaka. 

93.  SUIKEI.  “Yehon  Midzu  no  Omo”— or  “Surface  of  Water.”  Il¬ 

lustrated  by  Suikei.  Published  by  Shunchodo.  8vo.  Dated 
Tempo  II.  (1831). 

Illustrated  in  colors  and  heightened  with  gold  and  silver.  A 
book  of  Poems  with  pictures  of  the  Life  of  Ono  no  Ivomachi,  a  celebrated 
Japanese  Poetess. 

FAN  MOUNTS. 

94.  FAN  MOUNT  OF  THE  TOSA  SCHOOL.  Autumn  flowers,  rocks 

and  winding  stream  on  a  gold  background. 

An  Ogi,  or  folding  fan. 

95.  PAINTED  OGI  OR  FOLDING  FAN.  A  graceful  spray  of  dark 

blue  morning  glories,  seen  against  a  gold  brocade  of  hexagonal 
pattern. 

A  very  artistic  painting  of  the  Tosa  School. 

96.  PAINTED  OGI  OR  FOLDING  FAN.  A  white  Crane  flying  to¬ 

wards  Young  Pines,  on  a  gold  ground. 

15 


CHINESE  PAINTINGS  OF  THE  MING  PERIOD. 

97.  CHINESE  PAINTING  ON  SILK.  Chinese  landscape  with  Pine 

Trees.  Signed  To-In.  Framed. 

A  painting  of  the  early  Ming  Period  ;  very  rarely  found  signed  as  above. 

98.  SMALL  CHINESE  PAINTING.  A  Falcon  catching  a  Sparrow. 

Painting  on  silk.  9%  x  10  inches. 

A  painting  on  silk  of  the  early  Ming  Period.  Framed. 

99.  SMALL  CHINESE  PAINTING.  Landscape  with  Temple. 

A  painting  on  silk  of  the  early  Ming  Period.  Not  in  monochrome  as  often 
found,  but  painted  in  two  colors.  Framed. 

KHJ  YEI. 

100.  KAKEMONO  PAINTING  BY  KIU  YEI. 

A  Chinese  Princess  in  Court  Robes  with  an  open  Fan  accompanied  by 
four  attendants  stands  on  a  balcony  at  the  foot  of  the  balustrade  receiving 
a  message  from  a  young  servant  who  has  dismounted  from  his  horse.  Paint¬ 
ed  on  silk,  in  soft  colors.  Mounted  on  brocade. 

101.  CHINESE  LANDSCAPE  PAINTINGS.  An  oblong  folio  album 

having  mounted  therein  five  Chinese  Landscape  paintings  at¬ 
tributed  to  Kiu-Yei,  an  artist  of  the  Mind  Period. 

102.  CHINESE  PRINTING.  “Images  of  the  518  Rakans  or  Disciples 

of  Buddha/’  printed  in  white  reserve  on  a  black  ground.  Chi¬ 
nese  workmanship,  dated  Cha-Chin  4  (1799).  11  volumes,  bound 
in  uncovered  boards  of  natural  wood.  Sm.  folio. 

An  extraordinary  item  in  fine  condition,  formerly  in  the  possession 
of  the  Daimyo  of  Ilirado  whose  seals  are  stamped  on  the  cover  of  each  of 
the  eleven  volumes  forming  the  set.  Each  page  contains  the  figure  of  a 
seated  Rakan,  each  with  his  particular  attribute  printed  in  white  reserve 
on  a  black  ground  resembling  “niello”  work,  with  a  line  of  text  in  Chinese 
characters  above.  The  work,  while  unsigned,  is  that  of  a  master  hand, 
shown  by  the  boldness  and  skill  of  execution  ;  the  studies  iu  the  various 
facial  expression  being  the  work  of  rare  genius. 

103.  SAMPLES  OF  TEXTILES  OF  OLD  JAPANESE  AND  CHI¬ 

NESE  WORKMANSHIP.  An  album  of  4to  size,  containing 
twenty  pages,  on  both  sides  of  which  are  mounted  over  a  hundred 
pieces  (some  covering  an  entire  page)  of  ancient  brocades,  vel¬ 
vets,  cloth  of  gold,  etc.,  each  piece  containing  the  entire  pattern. 

A  Masque  of  Okame  in  old  velvet ;  A  Court  Scene,  and  other  interesting 
old  weaves. 

KIKUMARO. 

Pupil  of  Utamaro. 

104.  A  SLEEPING  COURTESAN  IN  PURPLE  DREAMING  OF  A 

CAT.  A  broadsheet  of  remarkable  composition  and  coloring. 
Pub.  by  Yamamura.  Signed. 

16 


No.  49.  Hiroshige.  Plate  4.  No.  50.  Hiroshige. 

No.  77.  Hokusai.  No.  70.  Hokusai. 


DRAWING  ATTRIBUTED  TO  HOKUSAI. 

105.  SPARROWS  flying  and  perched  on  a  tile  which  has  fallen  from 

the  Temple,  near  which  a  plant  having  green  leaves  lined  with 
pink  is  growing.  Kakemono  shape,  painting  on  paper. 

KOBAYASHI  KIOCHIKA. 

A  contemporary  Japanese  Artist  of  about  1880. 

106.  VIEW  OF  RYOGOKU  BRIDGE,  after  a  shower,  note  the  charm¬ 

ing  artistic  effect  of  the  placing  of  the  short-skirted  maiden  with 
an  nmbrella;  Embankment  of  the  Snmida  River,  early  morning. 
Oblong  prints,  well  and  clearly  printed.  (2) 

PAINTING  BY  KIOSAI. 

107.  WOLF  WITH  THE  HEAD  OF  A  MAN.  Painted  on  paper. 

Signed. 

KIYOMINE  I,  1786-1868. 

Torii  School,  pupil  of  Kiyonaga. 

108.  YOUNG  GIRL  AND  HER  BROTHER.  Seen  at  half  length,  the 

baby  holding  a  Bamboo  branch  with  poem  cards.  Broadsheet, 
signed ;  published  by  Tsurnya. 

Remarkable  condition  and  registration  ;  the  border  of  her  robe  touched 
with  mica.  In  untrimmed  state  with  the  Happer  Certificate  as  genuine. 

KIYONAGA  (TORII),  1742-1815. 

Noted  for  the  grace  and  beauty  of  his  prints;  compared  by  Fenellosa  to  Mor- 

onobu  and  Raphael. 

109.  CHOZAN  OF  CLIOJIYA,  attended  by  two  Kamuro,  passing  under 

a  white  Cherry  tree  in  blossom.  Broadsheet,  signed,  published 
by  Yeijudo. 

Superb  composition  and  coloring  with  much  gauffrage.  With  the  Happer 
Certificate  and  Seal. 

110.  FUMIAOI  WITH  TWO  ATTENDANTS.  Broadsheet  in  fine  con¬ 

dition.  Signed. 

One  of  the  series  “Five  Seasons  in  the  Tea-Ilouse  Circle.”  Fumiaoi  is 
seated  on  an  Engawa  under  white  cherry  blossoms,  her  robes  of  violet  and 
pink  enhanced  by  gauffrage. 

111.  TEA  HOUSE  SCENE.  A  Courtesan  who  has  just  arrived  in  her 

Kago  with  bearer  and  attendant  talking  to  two  friends.  The  text 
says  “The  Fifth  Month  (June)  from  the  Twelve  Seasons  of 
Shinagawa.  ’  ’  Signed. 

Chuban  (square)  form,  subdued  yet  masterly  coloring. 

112.  SCENE  IN  THE  YOSHIWARA.  Man  and  Woman  in  a  scene 

with  Three  Musicians  on  the  Balcony  above.  Notable  for  the 
artistic  distribution  of  blacks;  gauffrage. 

A  VERY  HANDSOME  AND  IMPORTANT  EXAMPLE  IN  FINE  CONDITION. 

(See  Plate  No.  6.) 

17 


KORIUSAI,  1720-1782. 

The  Pupil  of  Harunobu,  whose  work  is  equally  sought  for. 

113.  THE  COURTESAN  AYAME,  WITH  THREE  SHINZO  AND 

TWO  KAMURO.  Signed  and  with  the  seal  of  the  Publisher 
Yeijudo. 

Certified  genuine  by  J.  S.  Happer.  A  magnificent  print  in  fine  color¬ 
ing  and  a  charming  group  of  women  ;  the  two  little  Kamuro  in  their  robes 
gauffered  to  represent  pink  crepe  form  an  alluring  complement.  A  print 
from  the  rare  series  of  “Hinagata  Wakana  no  Hatsumoyo.” 

114.  A  COURTESAN  WITH  HER  ATTENDANT  WHO  IS  PRE¬ 

PARING  TO  LIGHT  THE  ANDO.  Signed. 

Chuban  form.  From  the  series  of  “Furiu  Seiro  Meifu  Hakkei” — “Eight 
Views  of  Tea  Houses.”  The  note  of  black  used  by  Harunobu  with  ex¬ 
quisite  effect  shown  in  shadow  of  the  girl’s  hand  in  the  lantern  as  she 
starts  the  flame. 

KUNISADA,  1786-1865. 

115.  LARGE  HEAD  ON  A  MICA  GROUND  OF  YAWOYA  OSHI- 

CHI.  The  features  tinted  and  some  gauffrage. 

Rare  example  of  this  artist,  with  the  seal  and  certificate  of  J.  S.  Happer. 

KUNITERU. 

Pupil  of  Toyokuni. 

116.  FESTIVAL  BOAT  BY  MOONLIGHT.  TRIPTYCH.  Three  girls 

on  a  moonlight  picnic  near  Fuji. 

OKUMURA  MASANOBU,  1685-1764. 

“One  of  the  four  who  developed  color-printing”:  pupil  of  Kiyonobu. 

117.  PRIMITIVE.  Young  man  with  a  sun  hat.  Fan  shaped  print, 

signed  Ilogetsudo  Bunkaku. 

Narrow  upright  sheet,  the  color  applied  by  hand. 

118.  TIGER  AND  BAMBOO.  Primitive,  colored  by  hand,  the  eyes 

enhanced  with  gold  powder. 

Ilosoye  form,  signed  Okumura  Masanobu.  With  the  Happer  stamp  and 

CERTIFIED  GENUINE  BY  IIIM. 

KITAO  MASANOBU,  1761-1816. 

119.  THREE  WOMEN  VISITING  ASAKUSA  TEMPLE.  A  broad¬ 

sheet  published  by  Matsuya. 

A  rare  example  of  delightful  composition. 

120.  TWO  GEISHAS  ACCOMPANIED  BY  A  SERVANT,  who  is 

heavily  laden  with  their  packages  passing  a  Garden  Wall.  Signed. 

Chuban  (square)  form.  Gauffrage.  Subdued  coloring  relieved  by  the 
black  and  grey  of  the  robe  of  the  Jochyu.  With  the  Happer  certificate  and 
seal. 


18 


KIT  AO  MASANOP.U— Continued. 

121.  4 ‘EIGHT  VIEWS  OF  THE  SUMIDA. ”  A  Courtesan  meeting 

a'  young  woman  attended  by  a  boy-servant  on  the  banks  of  the 
Sumida  River.  Signed. 

Chuban  (square)  form,  and  one  of  the  most  attractive  designs  of  the 
artist ;  their  robes  in  gauffrage. 

NETSUKES. 

In  Carved  Wood  and  Ivory,  many  signed. 

122.  NETSUKE  OF  CARVED  IVORY.  Kanzan  and  Juttoku.  Two 

of  the  Disciples  of  Buddha  with  a  Scroll.  Signed. 

123.  TWO  NETSUKES  OF  CARVED  IVORY.  A  Court  Servant 

carrying  his  master’s  boy,  by  Ilojitsu;  No-Dancer  wearing  a 
Masque.  (2) 

124.  NETSUKE  OF  CARVED  IVORY.  Tartarian  Warrior,  hunting 

with  Bow  and  Arrows,  carrying  a  large  shield. 

125.  TWO  WOOD  NETSUKES.  Group  of  Seven  Masques,  by  Gioku- 

zan;  Masque  of  a  No-Dancer.  (2) 

126.  IVORY  NETSUKE.  Slioki  the  Demon  dispeller.  Finely  carved 

and  signed  by  Tomotada. 

127.  TWO  I\rORY  NETSUKES.  Woman  bathing;  Okame  scattering 

beans  on  the  New  Year’s  Eve.  By  Yosliitama.  (2) 

128.  CARVED  BOXWOOD  NETSUKE.  A  Ghost.  Length  6%  inches. 

Copied  from  a  painting  in  a  famous  Japanese  Collection  by  Itsumin. 

129.  TWO  WOOD  NETSUKES.  Nio  mending  his  Sandal  (on  which 

he  is  seated)  ;  The  Priest  Saigio  admiring  Fuji.  (2) 

130.  VERY  OLD  NETSUKE  OF  CARVED  IVORY.  A  rat  on  a  long 

coil  of  rope. 

131.  TWO  IVORY  NETSUKES.  ILotei  carrying  his  large  bag;  a 

Chinese  boy  acrobat.  (2) 

132.  NETSUKES  OF  WOOD  PAINTED  WITH  LACQUER,  Daruma 

standing  with  a  large  Hossu  (the  sign  of  the  Priest  Zen). 
Lacquered  Netsukes  are  very  rare. 

133.  TWO  IVORY  NETSUKES.  Both  signed.  Gama  Sennin  on  a 

Frog  Hunt,  by  Shoraku;  Chinese  Boy  with  a  Puppy  by  Giok- 
kosai.  (2) 

134.  NETSUKE  FINELY  CARVED  OF  WOOD.  The  Kirin  or 

Mythological  Animal. 

Signed  by  Toyomasa,  noted  for  his  netsuke  carvings. 

10 


N  ETS  UKE  S— Con  tinued. 

135.  TWO  WOOD  NETSUKES.  Chinese  Boy  with  a  Masque ;  A  coiled 

Snake,  signed  by  Tosh  in  a  ga.  (2) 

136.  NETSUKE  OF  CARVED  IVORY.  A  Miniature  Chinese  Junk, 

with  two  men,  signed  by  Dombutsu,  a  noted  artist. 

137.  TWO  WOOD  NETSUKES.  Cow  lying  down;  a  Goat  lying  down, 

the  latter  by  Tomokazu.  (2) 

138.  TWO  WOOD  NETSUKES.  The  Thunder  God  on  a  Drum  (lac¬ 

quered  in  red)  ;  a  Tiger  sitting  on  his  haunches,  signed  Masa- 
nawa.  (2) 

139.  NETSUKE  CARVED  OF  BOX  WOOD.  An  Old  Man  stretching. 

140.  NETSUKE  OF  CARVED  IVORY.  Jurojin,  one  of  the  “Seven 

Gods  of  Luck,”  accompanied  by  a  boy  and  a  crane.  By  Shimposai. 

141.  TWO  IVORY  NETSUKES.  Horse  feeding  and  a  rabbit.  The 

latter  by  Hidemasa,  signed.  (2) 

142.  NETSUKE  AS  A  COILED  DRAGON,  with  the  Sacred  Ball, 

carved  from  wood. 

143.  TWO  CARVED  WOOD  NETSUKES.  Man  dancing  with  an 

Open  Fan;  A  Hermit  with  writing  brush,  signed  Tenmin.  (2) 

144.  NETSUKE  OF  CARVED  IVORY.  A  Tall  Hermit  holding  a 

Gem  (the  Sacred  Ball).  Length  4 y2  inches. 

145.  TWO  NETSUKES  OF  CARVED  IVORY.  Shoki,  the  demon 

dispeller,  and  Sparrow  Snarer  with  his  pole.  (2) 

146.  CARVED  WOOD  NETSUKE.  Shiba  Onko  rescuing  his  friend, 

who  has  fallen  into  a  large  jar.  Signed  Masanawa. 

The  little  boy  who  broke  a  priceless  porcelain  jar  to  rescue  liis  friend  who 
had  fallen  in  and  was  in  danger  of  drowning. 

147.  TWO  NETSUKES  OF  CARVED  WOOD.  Cock  on  a  Drum,  the 

symbols  of  Peace;  a  Tiger  growling,  signed  Shomin.  (2) 

148.  CARVED  IVORY  NETSUKE.  An  old  man  blowing  a  flute. 

Length  5  inches. 

149.  TWO  NETSUKES.  Hotei,  with  his  fan,  carved  of  ivory;  Two 

Oni  catching  fish,  carved  deerhorn.  (2) 

150.  LARGE  NETSUKE  CARVED  OF  DEERHORN.  A  Chinaman 

blowing  a  trumpet.  Length  6  inches. 

151.  TWO  NETSUKES  OF  CARVED  WOOD.  Farmer  at  work; 

Lotus  Leaf  on  which  a  Spider  chases  a  Fly.  (2) 

20 


NETSUKES — Continued. 

152.  IVORY  NETSUKE.  An  old  Chinese  Sage,  seated,  and  a  boy. 

153.  WOOD  NETSUKE.  A  Chinese  Lady  carrying  her  baby  in  her 

arms. 

COLLECTION  OF  ORIMONO  OR  TEXTILES. 

UCHISHIKI,  OHI,  AND  FUKUSA. 

154.  UCHISHIKI,  OR  SMALL  ALTAR  PIECE  OF  BROCADE. 

Shokko  pattern,  interrupted  by  Butterfly  medallions  in  subdued 
tones  of  ivory  and  iridescent  colors,  the  prevailing  tone  a  warm 
brown. 

An  old  piece,  dating  back  a  hundred  years.  These  Uchishiki,  or  small 
Altar  Pieces,  are  all  similar  in  form  and  about  25  inches  square.  They 
are  made  from  the  fine  textiles  woven  in  Japan. 

155.  UCHISHIKI  OF  DARK  BLUE  AND  GOLD  BROCADE.  Woven 

in  a  small  pattern  of  Dragons  in  the  Clouds  among  flashes  of 
lightning  in  dull  golds,  greens  and  reds  on  a  dark  blue  ground. 

156.  LARGE  UCHISHIKI.  Chrysanthemum  motif.  Clusters  of  blos¬ 

soms  in  pink  and  ivory,  with  circular  purple  medallions  and 
green  diamond  shape  ornaments  on  a  dark  brown  ground  through 
which  is  woven  a  pink  serpentine  stripe. 

The  pattern  and  style  are  those  of  a  Nobleman  of  the  Court. 

157.  UCHISHIKI.  Brown  brocade  woven  in  a  shokko  pattern  outlined 

in  iridescent  blue. 

158.  UCHISHIKI.  Conventional  Waves  and  Hexagonal  Bands  woven 

in  brocade  in  Cubist  coloring,  of  about  1830. 

A  striking  though  harmonious  effect. 

159.  UCHISHIKI.  Brocade  in  a  pattern  representing  the  Nirvana  or 

Buddhistic  Paradise  of  the  Petals  of  the  Lotus  in  soft  iridescent 
colors  and  Clouds  on  an  old  red  ground. 

160.  UCHISHIKI.  Ashes  of  blue  on  a  grey  ground  in  a  small  pattern 

of  conventional  Dragons  and  waves,  the  Sacred  Ball  and  the 
Flame  in  subdued  red. 

161.  UCPIISIIIKI.  Brocaded  in  pattern  of  Dragons  and  floating  Clouds 

in  soft  green  and  ivory  on  a  ground  of  subdued  golden  brown. 

162.  UCHISHIKI  IN  BLUE  AND  SILVER  BROCADE.  The  Chinese 
'  character  “ju”  meaning  longevity  brocaded  in  different  styles 

in  silver  on  a  superb  blue  silk  ground. 

21 


ORIMONO  OR  TEXTILES  :  UCHISHIKI,  OHI,  FUKUSA— Continued. 

163.  OHI  IN  FADED  ROSE  AND  GOLD  BROCADE.  Bands  of 

serpentine  weaving  in  gold  enclose  alternating  medallions  of 
Botan  and  Dragons.  54  x  21  inches. 

Date  about  1750,  and  one  of  the  finest  pieces  of  the  Collection.  The  Ohi 
is  the  band  worn  by  Buddhistic  Priests  over  the  right  shoulder,  and  the 
preservation  of  many  of  these  wonderful  brocades  is  due  to  the  fact  that 
the  most  costly  material  was  used  for  the  robes  of  the  Priests  during  the 
ritual. 

164.  OHI.  On  a  light  brown  ground  a  pattern  of  conventional  Dragons, 

Waves  and  Coral  (in  blue)  is  beautifully  developed.  59  x  11 
inches. 

165.  OHI  OF  GREEN  AND  IVORY  BROCADE.  The  motif  is  that 

of  the  Botan  or  Peony,  exquisitely  rendered  in  ivory  on  an  old 
green  ground.  58  x  12  inches. 

An  old  and  very  fine  piece. 

166.  OHI.  Conventional  Waves,  Dolphins  and  Coral  in  gold  and  colors 

on  a  green  ground.  62  x  12%  inches. 

167.  OHI.  Clouds  and  the  Petals  of  the  Lotus  Blossoms  in  soft  iri¬ 

descent  colors  on  a  sage  green  ground. 

The  pattern  is  symbolic  of  the  Nirvana  or  Buddhistic  Paradise. 

168.  OHI.  Bands  of  floral  medallions,  bordered  with  Chrysanthemums 

on  a  dark  blue  ground. 

169.  OHI  OF  UNUSUAL  PATTERN.  Autumn  flowers  in  ivory  and 

blue  scattered  on  lengthwise  bands  of  subdued  red. 

170.  OHI  OF  GOLD  BROCADE.  Sprays  of  Chrysanthemums  in  gold 

and  Dragon  Medallions  on  a  soft  gold-colored  satin  ground. 

A  VERY  OLD  AND  FINE  TIECE. 

171.  OHI  IN  KARAIIANA  OR  CHINESE  FLOWER  PATTERN.  In 

soft  pastel  shades  on  a  creamy  ivory  satin  ground. 

172.  OHI.  Dolphins  and  Waves,  with  coral  in  five  colors  on  a  barred 

iridescent  blue  ground. 

173.  FUKUSA,  OR  GIFT  WRAPPER.  Brocaded  in  a  pattern  of 

bands  of  peonies  in  rich  purple,  blue  and  silver,  and  old  gold, 
divided  by  bands  of  black  brocade  bordered  on  either  side  with 
strips  of  “raimon”  pattern  in  gold  colored  silk  threads. 

A  very  handsome  piece,  the  prevailing  tone  dark  blue. 

174.  FUKUSA.  A  distinguished  pattern  of  the  Phoenix,  Waves  anct 

Coral  in  soft  colors  on  a  buttercup  yellow  ground.  Lined  with 
crepe. 


22 


ORIMONO  OR  TEXTILES:  UCHISHIKI,  OKI,  FUKUSA— Continued. 

175.  EMBROIDERED  FUKUSA.  Urashima  seated  on  an  old  Turtle 

returning-  from  the  Dragon’s  Palace  embroidered  in  high  relief 
in  gold,  silver  and  colors  on  a  Gobelin  blue  satin  ground. 

176.  EMBROIDERED  FUKUSA,  The  Seven  Gods  of  Luck,  each 

with  his  attribute  in  relief  embroidery  in  gold,  silver  and  colors 
on  a  blue  Satin  ground. 

On  the  reverse  is  the  Crest  of  the  former  owner  in  black,  a  large  Ivata- 
bami  blossom. 

177.  EMBROIDERED  BLUE  SATIN  FUKUSA.  Two  boxes  for 

Ilokai  (a  game  played  with  shells),  one  with  the  cover  off  and 
shells  scattered  here  and  there  in  very  fine  embroidery  in  gold 
and  colors. 

178.  EMBROIDERED  FUKUSA.  A  Pair  of  Cranes  flying  over  the 

Waves,  embroidered  in  white  and  gold  on  a  dark  blue  satin 
ground. 

179.  FUKUSA  EMBROIDERED  IN  BIRDS.  The  Golden  Pheasant 

and  his  Mate  feeding  near  a  Stream  and  Peony  in  blossom. 

Very  fine  embroidery  in  gold  and  colors  on  a  dark  blue  satin  ground. 

180.  FUKUSA  IN  GOLD  EMBROIDERY.  A  very  large  turtle  em¬ 

broidered  in  gold  and  color,  covering  nearly  the  entire  Fukusa 
of  blue  satin. 

181.  FUKUSA  EMBROIDERED  IN  THE  SYMBOLS  OF  “GOOD 

LUCK.”  A  Pair  of  large  Cranes  among  young  Pines  growing 
on  the  water’s  edge,  from  which  crawl  three  turtles  (in  gold)  ; 
beyond  is  the  Rising  Sun. 

182.  FUKUSA  OF  CREPE  IN  YUZEN  DYE.  The  Dragon’s  Palace 

with  Urashima  swimming  away  on  a  great  red  Carp.  On  a 
ground  of  light  blue  crepe. 

An  unusual  color  and  pattern. 

183.  EMBROIDERED  FUKUSA.  Jurojin  and  his  favorite  Crane, 

reading  a  Scroll  under  a  Pine  Tree.  Embroidered  in  gold  and 
colors  on  a  dark  blue  satin  ground. 

KATSUGAWA  SHUNKO,  1765-1790. 

Four  remarkable  examples  of  this  rare  artist  all  certified  by  Mr.  J.  S.  Happer 

as  genuine. 

184.  ICHIKAWA  MONNOSUKE  AS  A  YOUNG  GEISHA  GIRL 

WITH  FAN.  Large  upright  print,  signed. 

A  notable  example  of  Shunko’s  noble  simplicity.  A  broadsheet  with 
these  large  heads  is  rarely  offered.  With  the  Happer  Certificate. 

23 


KATSUGAWA  SHUNKO— Continued. 

185.  A  COURT  DANCER,  in  the  Shirabioshi  (in  which  only  women 

dance),  with  a  seated  admirer.  Ilosoye  form.  Signed. 

With  the  Wakai  seal,  and  certified  as  genuine  by  J.  S.  Happer.  These 
Wakai  prints  are  much  in  demand;  he  was  the  expert  who  passed  on  the 
collection  of  Mr.  Hayashi. 

186.  ICHIKAWA  KOMAZO  AS  A  SAMURAI  WITH  A  GEISHA 

GIRL.  He  holds  an  open  fan  and  speaks  to  her  seated  at  his  feet. 
Signed  broadsheet.  With  the  Happer  Certificate. 

187.  ACTOR  AS  A  WOMAN  TYING  HER  OBI.  She  has  just  arisen 

from  a  Couch  and  stands  against  a  Screen  showing  old  plum 
tree  and  stream.  Prevailing  tone  yellow  relieved  by  the  soft 
faded  cherry  color  of  the  obi,  and  the  black  border  of  the  robe. 

Hosoye  form.  Signed.  From  the  Hayashi  collection  with  his  seal. 
Certified  genuine  by  J.  S.  Happer  and  in  a  beautiful  state  of  preservation. 

SHUNSHO,  1726-1792. 

A  famous  artist  of  the  early  school. 

188.  DANJURO  AS  A  SAKE  MERCHANT,  carrying  his  credit  books 

to  his  customers.  Hosove-form.  Signed. 

With  the  Happer  seal  “certified  genuine.” 

189.  ACTOR  AS  A  SAMURAI,  holding  one  of  his  swords  in  the  scab¬ 

bard. 

(See  Plate  No.  6.) 

190.  A  SAMURAI  WITH  A  REEL  OF  THREAD.  The  clear  soft 

coloring  of  his  robes  in  a  pattern  of  bamboo  under  snow. 

A  fine  impression  clearly  printed,  signed  with  the  “Jar”  seal. 

SHUNZAN,  1780-1800. 

Rare  example  of  an  early  and  noted  artist. 

191.  FOUR  GIRLS  PLAYING  AND  DANCING. 

A  litle  maiden  in  a  flower  hat  is  dancing  with  two  Parasols ;  two  seated 
girls  are  playing  the  Samisen  and  another  sings. 

(See  Plate  No.  6.) 

SADAHIDE. 

192.  SIX  GIRLS  CATCHING  FIREFLIES,  under  an  old  willow  by 

a  winding  stream  bordered  with  rushes.  Tavo  ladies  Avatch  them 
from  a  bench  to  the  left. 

A  Triptych.  AVell  and  clearly  printed  and  in  fine  condition,  with  the 
seal  of  Yeijudo,  publisher. 

SADAHIDE  PAINTING. 

193.  YOUNG  GIRL  RETURNING  FROM  THE  TEMPLE  ON  NEW 

YEAR’S  DAY.  Painting  in  blue  tone  on  silk,  signed.  10  x  7 
inches. 


24 


Plate  5. 

Xo.  219.  Toyokuni.  A  Dreaming  Princess. 


SAD  AH  IDE  PAINTING— Continued. 

194.  ORIGINAL  DRAWING  FOR  A  TRIPTYCH  BY  SADAHIDE 

Chinese  Warriors  in  combat. 

The  original  drawing  on  this  Japan  paper  in  black  and  white,  the  faces 
touched  with  color  in  preparation  of  cutting  the  block.  Very  few  of  these 
drawings  are  in  existence  as  they  are  totally  destroyed  in  cutting  the  design 
on  the  wood. 

195.  KAKEMONO  PAINTING  BY  SESSHU.  River  Landscape  with 

boat.  Painting-  on  silk,  mounted  on  brocade  of  fine  old  texture. 
With  the  black  seal  of  the  artist,  very  rai-e  in  this  form. 

SURIMONO. 

By  Hokusai,  Hoyendo,  Shumman,  Hokkei,  and  others. 

196.  SURIMONO  BY  HOKUSAI.  A  Geisha  Girl  stands  ready  to 

dance ;  her  flower  hat,  tambourine  and  fan  on  the  floor.  Oblong 
print,  charming  in  composition. 

197.  SURIMONO  BY  HOKUSAI.  Kintoki  and  his  Mother.  They  are 

seated  under  a  large  Cherry  Tree  veiled  in  mist.  He  is  amusing 
himself  with  his  toys. 

198.  SURIMONO  BY  HOKUSAI.  Tametomo  and  two  fisher  girls  with 

their  buckets  of  salt  water;  the  sea  in  gauffrage. 

199.  SURIMONO  BY  HOKUSAI.  A  reclining  woman  reading  a  book. 

Some  detail  in  silver  and  gauffrage. 

200.  SURIMONO  BY  HOKUSAI.  A  very  interesting  Hokusai  print, 

being  the  head  of  a  Courtesan,  from  an  ancient  print  of  the  time 
of  Moronobu.  Some  detail  in  silver. 

201.  SURIMONO  BY  HOKUSAI.  Young  girl  manicuring  her  nails, 

seen  at  half  length. 

A  very  rare  example  with  the  Calendar  in  the  upper  left  corner,  and 
Hokusai’s  signature  printed  crosswise. 

202.  SURIMONO  BY  HOKUSAI.  Lady  picking  plum-blossoms,  sup¬ 

ported  by  a  boy  servant. 

203.  SURIMONO  BY  HOKUSAI.  Young  woman  visiting  Imari  Tem¬ 

ple,  accompanied  by  a  boy  servant. 

204.  HOKUSAI  SURIMONO.  Two  ladies  entering  the  Shrine  of 

Kinsei  Daimiojin,  accompanied  by  a  boy-servant.  Overhead  the 
budding  Plums  are  printed  in  silver;  other  details  also  in  silver. 

205.  SURIMONO  BY  HOKKEI,  pupil  of  Hokusai.  Chinese  Warrior 

Riulio  subduing  a  Dragon.  Night  scene,  printed  in  silver  and 
colors. 

25  • 


SURIMONO— Continued. 

206.  SURIMONO  BY  HOKKEI.  A  gold  fish  swimming  in  a  blue  bowl 

of  globular  shape  with  narrow  neck. 

207.  IIOYENDO,  a  Kyoto  artist  of  about  1820.  Courtesan  en  Prom¬ 

enade.  Her  robes  of  violet  pattern  enhanced  with  gold.  Large 
upright  Surimono. 

208.  SURIMONO  BY  KIOSAI.  An  artist’s  Studio,  showing  a  Tiger 

Screen,  brushes,  colors,  etc.  Printed  in  silver  and  colors,  some 
details  lacquered  in  red  and  black. 

209.  SURIMONO  BY  KIOSAI.  A  monkey  on  a  pedestal  playing  with 

a  string  of  beads. 

210.  SURIMONO  BY  K  UNIS  AD  A.  Young  Geisha  Girl  standing  in 

the  doorway  watching  the  falling  petals  from  the  cherry  blossoms. 

211.  SURIMONO  BY  KUNIYOSHI.  Geisha  Girl  seated  by  a  Hibachi. 

The  detail  printed  in  silver  and  the  entire  background  in  gauffrage. 

212.  SURIMONO  BY  SIIIGENOBU.  Actor  and  Actress  in  a  play, 

printed  in  silver  and  colors. 


213.  SURIMONO  BY  SIIIGENOBU,  Hokusai’s  son-in-law.  New 
Year’s  Festival  celebrated  by  a  man  and  wife  of  the  middle 
classes.  Interesting  detail  printed  in  gauffrage,  silver  and  colors. 


214.  SURIMONO  BY  S1IUM MAN.  In  Gauffrage,  silver  and  black— 

a  remarkable  composition  of  still-life,  showing  a  tray  with  fish, 
soup,  chopsticks,  etc. 

215.  SURIMONO  BY  SHUMMAN.  Young  girl  gazing  at  her  reflection 

in  a  mirror  (printed  in  silver  and  black).  An  exquisite  com¬ 
position. 


216. 


SURIMONO  BY  SHUMMAN.  A  crow  and  three  Sparrows  at 
dawn. 

Note  the  seal;  Shumman  was  a  publisher  as  well  as  artist,  like  Masanobu. 


TOYOHIRO,  1773-1828. 

A  great  artist  and  the  teacher  of  Hiroshige. 

217.  THREE  WOMEN  AT  FLOWER  ARRANGEMENT.  Broadsheet, 

signed. 

A  superb  impression  in  splendid  condition.  The  kneeling  figure  in  a 
robe  of  softest  black  forms  an  exquisite  foil  to  the  pastel  colors  of  the 
robes  of  her  companions. 

(See  riate  No.  0.) 

218.  TWO  LADIES  AT  YENOSHIMA  CAVERN.  They  are  standing 

at  the  entrance  looking  at  a  fisher  boy,  their  soft  pink  robes  seen 
against  the  dim  green  of  the  cavernous  rocks.  Broadsheet,  signed. 

2G 


TOYOKUNI. 

219.  A  DREAMING  PRINCESS.  Triptych  of  Toyokuni ’s  early  period. 

Published  by  Yeijudo. 

With  her  ten  attendants  grouped  around  her,  the  Princess  has  fallen 
asleep  and  is  dreaming  of  a  Rat’s  Wedding,  a  lucky  omen.  Very  fine  and 
scarce,  note  the  early  form  of  the  signature. 

(See  Plate  No.  5.) 

220.  TEA  HOUSE  INTERIOR.  A  young’  man  accompanied  by  a 

Courtesan  stopping  to  speak  to  another  who  is  seated  drinking 
Sake.  Broadsheet  signed,  published  by  Seniclii. 

Early  print  shown  by  the  form  of  the  signature  and  with  the 
IIapper  certificate.  The  rich  black  of  the  man’s  robe  over  black  gauze  is 
the  striking  note  of  a  powerful  composition. 

221.  YOUNG  MAN  AND  LADY  VISITING  INARI  TEMPLE.  Broad¬ 

sheet  with  the  Happer  certificate  in  fine  condition.  Signed. 

222.  BANDO  MITSUGORO  AND  IWAI  HANSIIIRO  IN  A  RAIN 

STORM.  They  are  under  an  umbrella  which  hardly  protects 
the  flowing  robes  of  the  lady  from  the  heavy  shower. 

Broadsheet  of  Toyokuni’s  middle  period.  Signed. 

223.  KAMPEI,  FAMOUS  SAMURAI,  DISGUISED  AS  A  HUNTER. 

Night  is  represented  by  a  background  of  solid  black  above  his 
head  and  shoulders.  A  fine  three-color  print  published  by 
Senichi. 

224.  BANDO  MITSUGORO  FIGHTING  WITH  ARASHI  SAM- 

PACHI.  A  powerful  composition,  clearly  printed  and  fine  color¬ 
ing.  Signed.  Published  by  Yeijudo. 

225.  YOUNG  WOxMAN  DANCING  THE  MATSUKAZE.  She  is  rep¬ 

resented  as  dancing  on  the  shore  under  a  Pine. 

Hosoye  form.  Scarce. 

226.  NAKAMURA  UTAYEMON  AS  A  THUNDER  GOD.  He  is  play¬ 

ing  a  Samisen. 

227.  TRIPTYCH  OF  TOYOKUNI’S  MIDDLE  PERIOD.  The  Scene 

is  an  Actor’s  Dressing  Room  with  eleven  men  amusing  them¬ 
selves  in  various  ways. 

Excessively  interesting,  particularly  in  the  detail,  some  of  the  face  tinted, 
and  the  use  of  black  in  the  print  very  artistic. 

228.  PENTAPTYCH  BY  TOYOKUNI.  A  five-sheet  print  showing  an 

Actors’  Parade  seen  against  the  River,  and  the  full  length  of 
R.yogoku  Bridge. 

A  panoramic  print  of  remarkable  compositton,  very  rarely  offered. 

27 


ISHIKAWA  TOYONOBU,  1711-1785. 

229.  YOUNG  WOMAN  DRESSING  THE  HAIR  OF  HER  SEATED 

FRIEND.  Large  Primitive  print  in  Beni-ye  or  Three  Colors, 
published  by  Uroko  Kataya. 

In  an  exceptional  state  of  preservation.  Signed  Meijodo  Ishikawa 
Toyonobu.  Certified  genuine  by  J.  S.  IIapper. 

(See  Plate  I.  Frontispiece.) 

UTAMARO,  1754-1806. 

“The  name  most  familiar  throughout  Europe  and  America.”— Keane 

230.  KAKEMONO  PRINT.  A  Courtesan  with  her  attendant,  who  has 

just  finished  her  dressing.  Signed. 

231.  TRIPTYCH  BY  UTAMARO.  Ten  Young  Girls  cleaning  House 

for  the  New  Year.  Published  by  Yamada. 

In  exquisite  coloring  with  extensive  use  of  gauffrage.  The  busy  activities 
of  the  girls  has  apparently  been  too  much  for  the  Daimio  or  ruler  of  the 
house,  as  he  is  requiring  their  support  to  get  away.  Certified  as  genuine 
by  J.  S.  IIapper. 

232.  FISHER  GIRLS  CARRYING  SALT  WATER.  The  boy  who  is 

with  them  has  his  little  buckets  in  imitation  of  theirs.  Signed. 

Note  the  background  of  water,  hillside  with  the  salt  huts  and  old  pine 
trees. 

233.  VERANDAH  OF  A  CHINESE  PALACE  WITH  THREE  LA¬ 

DIES.  An  exquisite  harmony  in  green,  note  the  grace  of  the 
seated  figure  reading  the  scroll,  and  the  printing  of  the  face  of 
the  standing  girl  through  the  gauze  fan. 

With  the  very  rare  signature  of  Utamaro  in  square  characters,  as 
ancient  Chinese  lettering.  The  print  was  issued  by  Tsutaya,  a  famous  pub¬ 
lisher,  who  lodged  Utamaro  for  some  time  in  order  to  obtain  his  work  by 
keeping  him  from  dissipation  and  idleness.  Chinese  subjects  are  among 

THE  MOST  DESIRED  PRINTS  OF  COLLECTORS. 

231.  BOY  WITH  HIS  MOTHER.  He  is  preparing  his  first  Flag  for 
Inari  Temple. 

A  VERY  RARE  EXAMPLE  SHOWN  BY  THE  USE  OF  THE  CHARACTER  “UTA,’’ 
which  was  Utamaro’s  first  form  of  signature.  The  print  is  a  ehuban 
(square)  form,  printed  in  three  colors,  the  registration  perfect,  and  bears 
THE  SEAL  AND  CERTIFICATION  OF  J.  S.  IIAPPER. 

235.  KINTOKI  ON  A  WILD  BOAR  FLYING  A  KITE.  Yamauba, 

his  mother,  seated  under  a  tree,  watches  him.  Oblong  print  of 
striking  coloring. 

TRACING  AFTER  UTAMARO. 

236.  OKITA  OF  NANIWAYA,  the  favorite  model  of  Utamaro,  serving 

tea. 

A  tracing  of  a  famous  print,  painted  by  hand  after  the  original  and  ap¬ 
parently  about  Utamaro’s  time. 


28 


No.  191.  Shunzan.  Plate  <>. 

No.  217.  Toyohiro. 


No.  189.  Shunsho. 
No.  112.  Ki.vonaga. 


UTAMARO  II. 

237.  YOUNG  MOTHER  NURSING  HER  BABY.  She  is  partly  re¬ 

clining  under  the  sleeping  net  and  is  singing  a  Lullaby  to  the 
baby,  just  ready  to  drop  asleep  and  be  given  to  the  kneeling  Maid. 
Fine  condition  and  coloring.  Broadsheet,  signed. 

238.  GEISHA  GIRL  SEATED  FILLING  HER  PIFE.  A  figure  of 

graceful  long  lines,  her  robes  in  a  pattern  of  blue  cornflowers, 
her  smooth  black  hair  set  off  by  tortoiseshell  pins.  Broadsheet, 
signed. 

YEISEN,  1790-1840. 

239.  NISHIKIMO  OF  OGIYA  MEDITATING.  A  “blue”  print  of 

much  charm;  she  is  reclining  on  a  couch  with  a  book.  Broad¬ 
sheet,  signed,  in  fine  condition  published  by  Tsutaya. 

240.  KAKEMONO  PRINT.  The  Giant  Carp  swimming  up  the  Water¬ 

fall. 

A  noted  print,  signed  Keisai,  and  with  the  seal  of  the  publisher  Kansendo. 

241.  GEISHA  GIRL  CLOSING  HER  UMBRELLA.  On  which  the 

large  black  characters  state  the  House  to  which  she  belongs. 

Fine  impression  and  condition,  the  face  tinted. 

YEISHI,  1780-1805. 

242.  PRINCE  GENJI  WITH  A  BEAUTIFUL  COURTESAN  COM¬ 

POSING  A  POEM  ON  THE  SUBJECT  OF  MORNING 
GLORIES.  Broadsheet,  signed,  published  by  Senichi. 

A  symphony  in  grey  and  faded  purple  in  Yeishi’s  early  manner ;  the 
woman’s  figure  standing  above  him  of  exquisite  grace.  Charming  touches 
are  added  by  the  cage  with  bird  on  a  lacquer  stand  and  the  soft  black  of  the 
robe  of  the  boy  servant.  With  the  Happer  certificate  as  genuine. 

243.  THREE  WOMEN  ADMIRING  MORNING  GLORIES.  They 

stand  on  the  Verandah,  near  a  fence  trailing  with  blossoms. 
Signed.  Pub.  by  Senichi. 

The  subdued  greys  and  blacks  make  this  print  the  proper  complement  to 
the  preceding.  The  patterns  on  the  robes  in  gauffrage. 

244.  YOUNG  WOMAN  IN  THE  GUISE  OF  ONO-NO  KOMACHI, 

POETESS.  Broadsheet,  signed,  published  by  Yeijudo. 

A  very  fine  example  on  a  yellow  ground  ;  a  seated  figure  of  exquisite 
grace,  her  robes  showing  gauffrage  and  traces  of  mica  printing. 

YEISHI  PAINTING. 

245.  A  COURT  LADY  IN  ROBES  OF  SPLENDOR  RECITING  A 

POEM.  Painting  on  silk  of  warm  golden  brown,  her  flowing 
robes  of  old  red  with  a  pattern  in  black  and  ivory ;  she  stands  in 
a  garden  under  a  spreading  cherry  tree.  Signed  and  with  seal. 
11  x  16  inches. 


29 


YEISHO. 

Worked  from  about  1800  to  1810,  whose  prints  are  rare,  a  triptych 

particularly  so. 

246.  THREE  BEAUTIFUL  COURTESANS  REPRESENTING 

BUDDHISTIC  ANGELS.  They  are  represented  as  playing  and 
singing,  seated  in  the  clouds,  their  wind-blown  draperies  thick 
with  drifting  Cherry  blossoms  near  the  great  bird  symbolical  of 
Tennin.  These  were  the  Egerias  of  the  famous  House  of  Matsu- 
baya,  Kisegawa  on  the  left,  the  lovely  Somenosuke  in  the  centre 
in  her  robes  of  butterfly  and  peony  design,  with  Utagawa  on  the 
right. 

A  TRirTYCII  OF  REMARKABLE  COMPOSITION. 

YEIZAN,  1800-1829. 

247.  TWO  GEISHA  GIRLS  ON  A  BRIDGE.  Snow  Print.  They  are 

under  one  umbrella.,  which  the  thickly  falling  snow  has  covered. 
Very  fine  impression. 

(See  Plate  No.  2.) 

YOSHITOSHI. 

Much  Influenced  by  Utamaro. 

248.  ORIGINAL  DRAWING  FOR  A  TRIPTYCH.  Chinese  Warriors 

in  Combat. 

The  original  drawing  on  thin  Japan  paper  in  black  and  white,  the  faces 
touched  with  color,  in  preparation  for  cutting  the  block.  Very  few  of  these 
drawings  survive  as  they  are  totally  destroyed  in  blocking. 

PAINTING  BY  ZESHIN. 

Famous  as  a  lacquer  worker  and  artist. 

249.  AN  OLD  POET  MEDITATING  BY  MOONLIGHT.  Painting 

on  silk,  and  signed  “Zeshin  at  the  age  of  80.”  11  x  8  inches. 


S.  L.  PARSONS  &  CO.,  INC.,  Printers,  45  Rose  St..  New  York. 


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